A long-established dance writer, Jann Parry was dance critic for The Observer from 1983 to 2004 and wrote the award-winning biography of choreographer Kenneth MacMillan: 'Different Drummer', Faber and Faber, 2009. She has written for publications including The Spectator, The Listener, About the House (Royal Opera House magazine), Dance Now, Dance Magazine (USA), Stage Bill (USA) and Dancing Times. As a writer/producer she worked for the BBC World Service from 1970 to 1989, covering current affairs and the arts. As well as producing radio programmes she has contributed to television and radio documentaries about dance and dancers.

Though Rauschenberg’s designs have no apparent connection with the dances they accompany, and even compete for the audience’s attention, they have become inescapably part of the experience of each work.

★★★✰✰ If you remember the 1948 film, the plot is easy to follow. If you don’t, and can’t pick up the references to ballets, a printed scenario would be helpful, as would job-descriptions of the characters…

One of the leading interpreters of Kenneth MacMillan’s dramatic ballets Viviana Durante’s leaving of the Royal Ballet at the height of her powers was a sad loss to London, if the gain of those who saw her perform elsewhere all around the world. Well now she’s back at the Royal Opera House, this time to coach MacMillan’s Anastasia, which is where Jann Parry caught up with her…

Gary Harris has had one of the most varied ballet careers you can get… dancer, teacher, ballet master, artistic director, designer and notator. Now he’s working with the Royal Ballet to bring back Kenneth MacMillan’s Anastasia – Jann Parry went for a chat.

★★★✰✰ Bintley has treated Shakespeare’s drama as a masque, full of spectacle, music and dancing, with elusive characters that are more allegorical than realistic. It doesn’t work as a narrative ballet because the sub-plots are too complicated…

★★★★✰ Revelations is always a joy, however often one sees it. Ailey’s choreography, influenced by his mentor, Lester Horton, and Martha Graham, is a reminder of how potent that modern dance technique could be.